


The Road to El Dorado - A Musical Analysis

by bcbdrums



Category: The Road to El Dorado (2000)
Genre: Originally Posted on Tumblr, Other
Language: English
Status: Completed
Published: 2015-05-26
Updated: 2015-05-26
Packaged: 2018-04-01 08:01:43
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 5,072
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/4011997
Author URL: https://archiveofourown.org/users/bcbdrums/pseuds/bcbdrums
Summary: <blockquote class="userstuff">
              <p>TL; DR: I decided to do an analysis of the way leitmotifs (also called motives and themes) are used in the score of this movie. For the next several pages I expound upon these developments in a play-by-play method, identifying the motives as they are introduced, and looking at each motive in its specific usage and how it is brilliantly enhancing and necessary to the onscreen action. I also take a look at a few of the songs cut from the film, because they are greatly enhancing to the plot and understanding the characters. This movie should have been much better than it turned out (read anything Terry Rossio & Ted Elliot have said about it to understand, such as: http://mjsimpson-films.blogspot.com/2013/04/interview-ted-elliott-and-terry-rossio.html), and the excellent music is one of our big hints of what it could have been.</p>
            </blockquote>





	The Road to El Dorado - A Musical Analysis

**Author's Note:**

> First, a note about the instruments: I was more interested in the themes than specific instrumentation, so I usually generalize with terms like brass and percussion. I’m only specific when I’m certain and it’s obvious. I generalize to guitars whenever plucked strings are used, because most of the time it is guitars and it’s tough to identify them all in combination (mandolins, lutes, ukes, etc.).
> 
> Second, a note about quality: I did this all in one evening, so it’s quite possible I missed some themes being played or made some mistakes. However, I’ve been listening to this score almost in its entirety over and over for the last month as I mentally prepared to write this. And as I didn’t sit down at my piano to really analyze each theme, you’ll please excuse me when I mention ‘variations’ without giving any detail. I just don’t have the time for that depth of analysis. Anyway, here we go:

“The Road to El Dorado” – A Musical Analysis

  

Act I – Many of the film’s most important themes are introduced in the first 20 minutes, and if you don’t pay attention you miss them. Nearly all of the themes heard are transformed along the journey just as our heroes are transformed, whether by change in melody, harmony, or instrumentation (the latter being most common). We are introduced to each theme as it fits the environment Miguel and Tulio are in. At the start, our heroes reside in Spain, and we hear the themes reflect their lives in this country. Once they leave it the themes begin to change with the environment, but eventually become much more reflective of our heroes themselves.

 

Opening Titles (“El Dorado”) – The first sound we hear is the most important instrument in the score, the guitar, which can be found playing in most of the musical motives in the film. This instrument is critical in representing the two main characters as well as their feelings in many situations. We also hear majestic brass and percussion, setting the stereotypical Hispanic stage of the drama. Elton John tells us about the golden city and the gods, foreshadowing.

 

Spain, 1519 – Brass and percussion in yet another stereotypical harmony and progression introduce us to the hometown of our heroes, as well as to our antagonist, though we have no way yet of knowing that will be his role. It is important to remember the sounds of Spain as they continue to show up throughout the movie, right up until the very last scene. This very first motive, the “Spain” motive, will be heard in variation until Miguel and Tulio board the ship.

 

“Partner!” – First we hear the “Spain” theme as the dice are thrown, and then we hear the very brief “conmen (tons of gold)” theme played on a guitar (Yes, a guitar, not a mandolin. And as a side note, the instrument depicted in the movie is a lute; mandolins and guitars wouldn’t be invented for some 300 years). We are introduced to our heroes with some typical program music playing, and then a hugely important theme is introduced—what I call the “dream” theme: Miguel throws Tulio’s face into the map and we hear strings playing a lovely melody with some low pulsing underneath and a high bell note repeating every other beat. _“This could be our destiny, our fate!”_ We can hear the hope, joy, and excitement that finding the City of Gold would bring to Miguel in the way this theme is played. It is important to remember this theme, and it will only be played four times.

 

“You Dare to Impugn my Honor!” – For the rest of the dice game we hear a combination of the “Spain” theme and the very important “plotting” theme while Tulio is trying to make the dice lucky, with our final hearing of the “conmen (tons of gold)” theme when they win (notice how the victory is enhanced with brass and strings). This is only the first version of the “plotting” theme and can be forgotten if you aren’t paying attention. During the duo’s swordplay we hear a much clearer version of this theme, with the fight concluding back on the “Spain” theme.

 

“And I’ll…Run!” – The “Spain” theme again with variations, now highly energized as they run from everything. We are introduced to another extremely important theme here as the two men swing upon the clothesline up to the roof—the “hero” theme. It is only heard in this form during this one scene, where it is anxious, weak, hurried, syncopated, and incomplete. This reflects the nature of the two men as we know them right now—low-level scam artists, perhaps not terribly bright, always on the run, and never knowing what their next move will be. This theme has the most poignant of transformations throughout the film.

 

“We’re Both in Barrels” – The “Spain” theme is heard for the final time as they leap from the roof into the barrels and are hefted away onto the ship, followed by programmatic transformations that have no clear anchor, representative of the state our boys are in. The music is just as ‘in the dark’ as they are. We hear amusing riffs on the all-important guitar as they struggle to free themselves, not knowing why they are stuck.

 

The Voyage – Some _Prince of Egypt_ music as the stage is set for the sea voyage. But what is worth noticing throughout the shipboard scene is the orchestration. The instruments heard still remind us that yes—these are Spaniards, sailing from Spain, even though we don’t hear the specific themes of the port town again. Miguel and Tulio are still tied to that country, even though they’re not there anymore; it’s their only basis of culture, and so we continue to hear it surround them as they use it to interpret their situation.

 

Cortes – This new theme is appropriately titled, “Cortes,” and we will hear the opening phrase of this theme throughout the movie almost every time the conquistador is onscreen.

 

Galleons – The “quest” theme is heard for the first time here, briefly. You’ll miss it if you yawn, but it’s important too.

 

The Brig – An ostinato is heard (stereotypically Spanish sounds, and the guitar is back!) as Tulio bangs his head repeatedly against a wall. It’s not a theme itself, but excellent programming, especially as it changes when Tulio is _“getting something”_ —the music directly shows his mind void, and then getting an idea. Great work Hans and John! And now, we hear the definitive version of the “plotting” theme—the rapid low melody on the guitar, with chords to move it along. The ‘busy’ sound it possesses here is indicative of Miguel’s contribution to the plan, as he comments and his energy adds to Tulio’s own. The theme is then heard a second time in strings as Miguel finds the plan is incomplete (strings often represent Miguel the dreamer, while Tulio sticks to practical guitar). Then we hear the “dumb horse” theme—long thoughtful low strings—as Miguel tries out his plan. The soft but busy guitar continues throughout the scene. We hear programmatic embellishments of the “plotting” theme as they escape, and then “dumb horse” again when the apple flies through the air; we won’t hear this theme again.

 

“Holy Ship!” – And here come some important ones. The “hero” theme is heard a second time, now in very low brass and strings as Miguel thinks solely of saving Altivo, not himself. We get the “quest” a second time, faster now as the galleon suddenly bears down on the rowboat, and then we hear the “catastrophe” theme for the first time as it capsizes. We hear this theme repeatedly throughout the rest of the film, always when the duo faces enormous danger. A majestic choir joins the brass on the “hero” theme as Miguel grasps Tulio’s hand.

 

“Were you going to say worse!?” – And now we are introduced to my favorite theme, the “partners” theme. It is heard seven or eight times in the film—more than any other theme—and it is the most meaningful to the duo by far followed by “dream.” We hear high, pleasant mandolin and guitar conversing back and forth as our heroes sit bedraggled in the boat, along with wooden flutes and Latin percussion. This lovely tune continues as it rains. Here for the first time we see the men away from it all—no more Spain, no more running from the law, no pulling a scam—it’s just Miguel and Tulio, Tulio and Miguel, partners. This light cheery tune emphasizes that even in dire straits, what really matters to them is each other, being together. It doesn’t even occur to them that there could be any other way. This is interrupted briefly by the storm during which the “danger” theme is hinted at, but not really heard (it comes complete much later; although in the soundtrack version you can hear it), and then you have to ignore the comedy of the seagull and shark or you’ll miss a heartrending version of the “partners” theme in strings with melancholy chords along and slow guitar notes, representing the duo dying together. The theme is never heard in this form again.

 

“It’s Land!” – Here we are treated first to a brief programmatic snippet of “partners” followed by its natural development, “success.” These two themes will later be woven together. And then, we are treated to gorgeous orchestration displaying Miguel’s wonderment as the “dream” theme plays for the second time and his vision is being realized before his eyes. The low woodwind used at the end of its play shows Tulio squashing Miguel’s dream, seeing it as futile, while Miguel maintains hope.

 

(“The Trail We Blaze”) Nothing really needs to be said about this non-score piece; it speaks for itself with its lyrics and the animation sequence that goes along with it, and the instrumentation and vocals introduce us to the jungle while still reminding us that we’re following around Spanish blokes.

 

Act II – And now we get several new and important themes, fantastic developments and variations, as well as some excellent program music. Mysterious chords give us the “gods” theme as the boys meet Chel, the warriors, and as we are shown the image of those gods Elton John told us about way back in the opening titles. We hear the new “discovery” theme during the cave journey; neither of these two will be heard again.

 

“It’s El Dorado…!” – And we now hear for the first time the aptly named “El Dorado 1” theme. Horns and choir with Latin percussion introduce us to the hidden city. The “El Dorado 2” theme is heard immediately after in strings and winds (when Altivo’s tail is in the water), and we return to the first phrase as the boat lands. These could be considered a single theme, but they become important divided later just like “partners” and “success.”

 

“Behold!” – The ominous sounds we hear as Miguel apologizes for the girl in Barcelona are our introduction to the “Tzekel-kan” theme. This theme is also divided into two phrases like the “El Dorado” themes, but it isn’t necessary to separate them out. This theme foreshadows the overall futility of the duo’s con as they are introduced to the city.

 

“STOP!” – We hear the “false gods” theme now as the duo is feared/revered by the people, but it is short lived. It is important to note, not only is this theme only ever heard in combination with “Tzekel-kan,” but the choir underneath the orchestra is chanting the priest’s name repeatedly as this triumphant-sounding melody soars. In this we receive more foreshadowing that this isn’t really a victory for our heroes. The “false gods” and “Tzekel-kan” themes continue until our duo are left alone in the temple. We won’t hear “false gods” after this scene.

 

“Which would you prefer?” – First, the guitar returns once more (it has been absent so far in Act II) as our duo is admitted to the temple, hinting to us that we’ll get to see them alone and at work once more. Some lovely program music to exit the priest and chief, and “Tzekel-kan” once again as the priest gloats.

 

“Call Me Chel” – _“Well, if you guys want the gold…”_ As this line is spoken we hear strings, low winds with a woody timbre, and guiro. This is the “Chel’s scam” theme, and is heard every time she is doing something clever or to her own benefit in the film. Guitar is soon incorporated into this theme, symbolizing her effect on the duo, weaving them into her plans and having success over them. As she is more and more successful with them, the amount and intensity of guitar increases. The music is appropriately sultry, like the character. The last phrase of this theme in this scene uses different chords, highlighting the duo’s discomfort in trusting her. This theme is one that should be listened to separately on the soundtrack score, as the guitar is developed much more there than in the movie.

 

“This is Gonna Be Tough” – Chel leaves, and Miguel and Tulio are finally alone again. The instant she is gone, the “partners” theme begins playing. This scene is the only time we hear it fully developed, with the “success” theme also woven in, played on cheery wooden flutes and guitar/plucked strings as Miguel encourages his friend that this con will be a piece of cake. The only interruption is the cute sound effects as Miguel struggles to listen to his little voice. The conversational quality of “partners” is extremely important to note. These two themes heard here can be considered a single theme.

 

(“It’s Tough to Be a God”) Once again, the music speaks for itself, both lyrically and instrumentally. We hear the confidence of the two men, and we hear them gradually getting drunk as the party wears on as the music gets more rowdy. Pay attention to the brass at the end, bringing us a reminder of Spain (as the fellows get drunk, it makes sense they’d revert back to that mindset).

 

“Good Morning, My Lords!” – We hear a programmatic version of “Tzekel-kan” followed immediately by the main version of it with both phrases. As the tribute is offered, high guitar is added to show our heroes’ interest in whatever they’re to be blessed with. The guitar disappears the moment the bag is opened. The theme continues with various instrumentation until the famous ‘stars’ quote is said.

 

“To Xibalba?” – When Tannabok shows up we first hear the “dream” theme played solely on guitar—our heroes’ goal is being realized!—until all the gold is cast into the whirlpool. Then choir and percussion join in as the “dream” theme is played more rapidly, their ‘dream’ going down the toilet (see what I did there?). The men can do nothing but watch helplessly, and the anxiousness in the percussion and guitar represents this. The scene ends with a very slow version of “Chel’s scam” on guitar—the boys are pleased!—followed by “Tzekel-kan” which cuts immediately to “Cortes” as we see him land on the island. As a side note—in the soundtrack score, this version of “dream” is interwoven with “El Dorado 2” symbolizing the natives’ beliefs being fulfilled here as the boys’ “dream” is destroyed—more foreshadowing of the futility of the con. Why this part wasn’t in the film I don’t know; probably time reasons.

 

—Interlude— There are several minutes without any score during which the chief agrees to build a boat, and we see Miguel take off to see the city. There is one tiny music moment when he says _“But Tulio, this place is amazing!”_ It’s the first few notes of “El Dorado 1” but that’s it. Also, we get to hear Tulio sing the harmony part to the end of “It’s Tough to Be a God” right before he discovers Miguel’s absence. As he sits on the divan, the score returns.

 

“Miguel is Right” – “Chel’s scam” starts slow again as she angles up behind Tulio and starts massaging him. We hear some simple developments and variations in winds as Tulio explains why they shouldn’t be together, and then as he gives in “Chel’s scam” slows again.

 

“Where is Everybody?” – This scene is truly amazing as we get to see how instrumentation can make a theme really versatile and change how it makes us feel and think about things. We hear “El Dorado 1” on guitar as Miguel explores the empty city. This should not be overlooked, as the simplicity of it demonstrates the innocence behind Miguel’s interest in the city. Yes, he’ll steal from them. But it’s a far greater reward to him just to be there and get to experience its wonders. The chords of “El Dorado 2” without the melody are briefly heard as the acolyte explains the peoples’ absence, and then low strings play “El Dorado 1” again as the man is threatened by the guards, with a few minor chords underneath. The guitar comes back as the guards are ordered to leave, and then is replaced by strings as Miguel helps the man up. And now we hear what is in my opinion the most interesting version of the “partners” theme—it is broken in half and the melody altered. It is played slowly in low strings, with only the faintest hint of guitar underneath. It does _not_ have the answering melody of the conversation; Tulio’s part is gone! It is important to note the connection to the “dream” theme, as both it and this current version of “partners” are played in strings, and “dream” sounds equally mellow in its pure form (see “It’s Land!”). Remember, El Dorado is really only Miguel’s dream, not Tulio’s; he just comes along for the sake of pleasing his partner. So hearing the “dream” instruments (strings) playing only Miguel’s half of the “partner” theme is an extremely subtle foreshadowing of the men’s future split and demonstrates their differing motives.

 

(“Without Question”) This is an incredible song, and the film version expands upon Miguel’s love of adventure. The guitar is extremely prominent as the entire song focuses around one of our heroes (and yes, there is definitely also a mandolin in here), there is also a prominence of choir as voices are often used in the score to highlight emotionally important moments. I’ll briefly comment on the album version of the song, less important in orchestration as it is in its lyrics; the lyrics are the thoughts of first Miguel and then Tulio as they realize that the other is their most important reason for being. Glad that version is played in the movie credits.

 

“Not What I Expected” – “Tzekel-kan” plays as the man’s voice is heard outside the temple while Chel gives Tulio a b***job (yes, literally). While the music is played somewhat comically reflecting the situation in which we find Tulio, we can still know by its presence that whatever is coming will be bad. The music remains comical throughout Tzekel-kan’s description of humanity and sacrifice, a useful device to keep the scene less frightening for kids who might be watching. Good call once again, Hans and John.

 

“This Way” – “Cortes” is played as we are reminded of the conquistador.

 

The Ball Game – We get some fun sports-stadium type music at the beginning the game, complete with whistles and chants from the crowds (incidentally, chanting Tulio’s and Miguel’s names and ‘ole’). Right before Chel presents the armadillo to the exhausted pair, we hear the “plotting” theme in high guitars and marimba showing the pair’s tiredness, and also highlighting the fact that it is Chel and not either of them who came up with this plan. When the two make their first point in the game, we hear “partners” for the fourth time, back to its conversation version. It starts in guitars as it usually does, and then is joined by brass and solo trumpet, the latter playing several variations as the chords continue underneath in the guitars; the chords of “success” are also played. The reason for the solo trumpet is twofold—it demonstrates their confidence in the cheat, and it separates them from the city, reminding us that these are still Spaniards pulling a con.

 

“There Will Be No Sacrifices!” – A variation of “Tzekel-kan” plays as Miguel starts his rant, its ominous power stripped away and replaced with more mellow chords. Then we hear a slow, heroic version of “hero” as Miguel makes his commandment.

 

“Gods Don’t Bleed” – Now we hear “Tzekel-kan” with both phrases and variations played as he hatches his plan. Note how creepy it is here, in comparison to the earlier comical version played with Tulio and Chel.

 

Act III – The montage of the boat building, Chel and Tulio’s romance, Miguel’s stela, and Altivo’s pampering are accompanied by the chords and melody of “Without Question” played on guitar. The music shows us how all of our main characters are at this moment, getting what they desire.

 

“To Err is Human” – We hear “dream” for the last time in its normal form, starting in the magical sounding guitar and sparkling percussion as Tannabok offers Miguel what he has been wishing for. Then it occurs very similarly to the way it is played back on the beach with that same hope and wistfulness from the woody-sounding flutes, back when Tulio shot down his idea. “Dream” is overtaken by a slow version of “partners” in guitar and wooden flute, with the conversation aspect in place. Hearing this theme here makes the next scene all the worse; Miguel doesn’t yet know of Tulio’s betrayal and is currently thinking of him and pleasing him, as opposed to earlier when he was roaming the city.

 

“Forget Miguel” – The first thing we hear is the guitar as Tulio makes his proposition, and the melody the guitar is from the instrumental version of “Without Question” we heard just a minute ago; its chord progression leads up to “Friends Never Say Goodbye,” which is shockingly appropriate. The progression is interrupted by “Chel’s scam” as the couple kiss. And then the opening lines of “Friends Never Say Goodbye” are finally heard as Miguel bitterly leaves the room. Hearing “Without Question” in this scene gives us a lot of insight about what’s really going on in Tulio’s mind about Chel.

 

“It Needs More Body” – The chords of “Tzekel-kan” play ominously in the background, followed by some dramatic variation of it as the jaguar is activated.

 

The Jaguar Chase – Here follows a rapid progression of themes. It starts with a dramatic version of “Tzekel-kan” with chanting of his name by the choir, as when the pair arrived in El Dorado. This is followed by the “hero” theme as the trio takes off on Altivo. We then hear “catastrophe” which we haven’t heard since the boys abandoned ship back in Act I. “Hero” comes again as the boys throw rocks at the jaguar, and then we get more of “Tzekel-kan” played very low. There is more of “catastrophe” in the volcano, with some variation, again followed by “hero” as the boys escape the sinking jaguar. We get a conclusive variation of “Tzekel-kan” as the two are chased out to the altar, and the chase ends.

 

The Priest’s Defeat – Before I mention these themes, notice—the fight between the men occurs with no music. It’s more emotionally meaningful that way. Anyway, as Tzekel-kan is hit, we get some good program music as the cliff breaks and “Tzekel-kan” is heard as the priest is whisked away in the waters. We hear “Cortes” as Tzekel-kan meets the conquistador.

 

“I’ve Decided to Stay” – “El Dorado 1” plays as Miguel is heralded victorious. “El Dorado 2” plays as the chief announces his decision, and dissolves into the chords of “Friends Never Say Goodbye” as the two men make eye contact for the last time.

 

(“Friends Never Say Goodbye”) This is probably the most important song lyrically in the film. Once again, the guitar dominates the entire piece, its sad melodies and chords highlighting the real pain of the decisions of the two men. A choir is also present, solidifying the choices of the men as the voices sing over the guitar. The lyrics demonstrate that while the two have parted, they would still do anything for the other, and that is why they allow the split—they think it’s what the other wants.

 

Save El Dorado – The next six or seven minutes are dominated by rapid theme changes. It starts with a hurried version of “Cortes” as Altivo notices the smoke in the distance, foreshadowing the danger the city is in. Some stunning program music follows as they realize it’s hopeless. Then we hear “plotting” as Tulio works on his plan. Notice, it’s just the melody without all the embellishments of earlier because Miguel is absent from his planning process. We hear “dream” for the final time, on guitar alone and in a variation; this is Tulio’s dream now, the gold (rather than the adventure), being lost. As the pillars are prepared we hear _Pirates of the Caribbean_ —no, sorry, the “danger” theme, which was mentioned earlier, but not really heard. It is briefly interrupted by a quick choral variation of something I can’t identify (help please?) and then a dramatic version of “hero” ending in an almost buried line of “partner” as Miguel and Tulio look at each other from afar; Miguel is reconsidering. _“Ready, hit the pillars!”_ – We get “danger” again with its answering phrase heard for the first time, and both repeat. And after they realize the sail is stuck, _“Altivo!”_ – The “hero” theme plays dramatically as Miguel rides to the rescue. He leaps, and we hear the choir soaring above the horns as they play the melody again. This is immediately followed by “partner” for the last time in its conversation, on guitar and flute, as Miguel announces his intention to stay with Tulio. “Hero” follows as the pillar crashes into the waters and carries the boat into the cave. We hear “catastrophe” as the boat is thrown around and then “hero” for the last time as the boat crashes into the pillars, accompanied again by the choir.

 

“There is No El Dorado Here!” – “Tzekel-kan” plays in a confident variation as the priest leads the army to the waterfall. The instruments used are those usually used to represent Cortes, showing the new connection between the two. Then “Cortes” plays in variation with tense chords as the wall is discovered. And we hear “quest” as the final leitmotif of the film as Cortes leads the army away from the city, permanently.

 

(“The Trail We Blaze – Reprise”) This closes out the film with a colorful final screen of blue, red, gold, and green. See <http://insertcoolpunhere.tumblr.com/post/118304460157> for why that’s important.

 

(“Someday Out of the Blue”) This is the love theme of the movie, so titled by the singer. The lyrics depict the ups and downs of Miguel’s and Tulio’s relationship throughout the course of the movie. Listen to the use of the guitar in the song again and how it represents the two men.

 

(“Without Question”) I talked about this earlier when I talked about the film version; scroll up to see.

 

(“The Panic in Me”) This is one of the cut songs from the film, and I wish it hadn’t been. This song depicts the relationship between Tulio and Chel, and when you listen to the orchestration it makes their relationship so much clearer. Tulio is represented by guitar and Chel by synth/piano. Note the use of choir and wooden flutes in the song, very prominent in “Chel’s scam” theme in the movie. And more than that, in all the choruses of the song “Chel’s scam” plays in strings and flutes and is later joined by choir. There is a lovely new theme introduced in this song that I call the “love” theme, and it doesn’t occur in the movie. It is heard in its most beautiful at the very end of the song in piano alone, and always in the lyrics of the chorus ( _“when you are laughing”_ and _“for a few perfect hours”_ ) _._ The pre-chorus of the song as played before the final chorus (“ _in the trials of the present_ ”) has a lovely duet of guitar and piano that represent how Tulio and Chel complete each other in their mutual struggle against a world in which they can’t live because they are different. The singer of the song is Tulio, and the lyrics of the chorus are extremely important as to identifying the reality of what he is feeling for her: _“When you are laughing, like silver, like rain…”_ Never is ‘silver’ mentioned in the film, only gold. Silver here represents a different kind of wealth—the joy and love in his soul. It is very deliberately used to be different from the material desire of gold. The ending instrumental section of the song is very emotionally charged: “Chel’s scam” plays again, the choir becoming more prominent, desperate, and panicked. The strings provide a chaotic counterpoint to this while the guitar stays beneath it all, running up and down anxiously in contrast to the calm and pleasant melodies it has had throughout the rest of the song. It returns to its calm state at the end, but very soon the choir and guitar disappear altogether in favor of the piano playing the “love” theme with one lone cello still providing an odd but fitting counterpoint. Chel may “ _cool and soothe_ ” Tulio, but the pair is destined for a tumultuous relationship as evidenced by the instrumental sections this song. Perhaps he’s just fooling himself? Or perhaps they are so alike that it’s perfect. Without a sequel to the movie, we are left to assume that they will stay together as in the end of the movie.

 

(“Queen of Cities”) Another cut song that needed to be in. In this one, the lyrics speak entirely for themselves. Miguel sings of what he loves and cannot/should not have. He could never be happy in El Dorado as long as he knows the cruelty of life outside.

 

(“My Heart Dances”) The last cut song I’ll discuss, in which the guitar again is extremely important. Like “Friends Never Say Goodbye,” this is sung from the perspective of both men. The words can be seen from both points of view, describing their regret over the fight and subsequent split, and how well they know each other. You can also read it as Tulio singing the first verse and Miguel the second. The backup vocals repeat the words ‘my love’ in the instrumental sections. During the repeated chorus lines at the end the guitar rises and falls rapidly, depicting the confusion and ultimately the deep hurt in the two men’s hearts over the split.

 

Well, that’s it! _El fin!_ Tell me if you like it, if you agree, disagree, if I messed up… If people like it enough, I’ll add in timestamps for all the exact times the themes occur in the movie. And for further listening enjoyment, I direct you to my playlist that includes much of this music, but sadly not all as the score is not available legally. Hope you enjoy! <https://www.youtube.com/playlist?list=PLEiJaD4bl2Sz1MraQ85Otriw9Z3Nh2Ajt>


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